1. Is the Venice/Claudio Miranda the best fit for this type of movie? Miranda's work with Sony cameras (Oblivion, Tomorrowland, Tron, Only The Brave) are beautiful but a bit on the cold side. Can he switch up his style and go for the warmer, more summery/punchy look of Top Gun?

2. And is Claudio Miranda better off using the Venice then say an Alexa LF or Alexa 65?

3. How does the Sony Venice fare in producing a filmic, cinematic look compared to the Alexas?

I'm pretty sure Claudio can switch up his style whenever he likes. A lot comes down to the director with whom he's working and the attempt to satisfy them and help fulfill their vision. There have been many times when I've worked and not done what I normally would do because the director wanted something different-- it's pretty much the base level of your job-- delivering what your bosses want.

Can he switch up his style and go for the warmer, more summery/punchy look of Top Gun?

2. And is Claudio Miranda better off using the Venice then say an Alexa LF or Alexa 65?

3. How does the Sony Venice fare in producing a filmic, cinematic look compared to the Alexas?

How do you know what the new Top Gun is going to look like? It's understandable that you might assume it will look like Tony Scott's original, but it's by no means certain that they will choose the same high gloss eighties look. I'm sure that Claudio Miranda is more than capable of tailoring his style to the needs of the movie.

When you ask "Is he better off using Venice?" What do you mean? Better off in what way? All three of the cameras are highly capable, and top of the line. This idea that Camera X is better than Camera Y is becoming increasingly irrelevant these days, particularly amongst the high end cameras. it's more a matter of personal taste.

Yes when Roger Deakins was asked about shooting Bladed Runner.. besides being terrified .. he said he was never going to try and copy Jordan Cronenweth,s style.. as its wasn't his style at all.. so he just did it his own way..to no ill effect in my humble opinion ..

I wouldn't lose too much sleep worrying as to wether Mr Mirander can coax a decent image out of the Venice.. he probably could with a mirror , cornflakes box and a smarty tube..

Thanks for the replies, guys. Really appreciate it. I'm more pumped for the movie even more, especially for Claudio Miranda's cinematography.

Claudio is a Sony guy, and the venice is the replacement for the F65 so it makes sense.

I don't think the Venice will have any issues capturing a beautiful image. The F65 looks great in the last two Woody Allen movies and the Venice in my opinion looks pretty much the same.

This. Cafe' Society and Wonder Wheel are absolutely beautiful. I guess my mindset when I first posted about this was skewed due to the Alexa being Hollywood's go to camera. But that has changed now. More and more guys are starting to use the Venice.

When you ask "Is he better off using Venice?" What do you mean? Better off in what way? All three of the cameras are highly capable, and top of the line. This idea that Camera X is better than Camera Y is becoming increasingly irrelevant these days, particularly amongst the high end cameras. it's more a matter of personal taste.

Was wondering if it was the best camera for the job, and if it was competitive with the Alexas. From what I've read from you guys, the Venice is pretty great. And it's the best camera for the job due to its form factor, global-ish shutter, and detachable sensor.

I'm now fully confident that Top Gun 2 will look kickass. Claudio knows how to get great looking footage out of Sony cams more than anyone else.

And thanks for understanding and putting up with my naivety, guys. Just a film/cinematography newbie excited for Top Gun 2.

Here's some interesting details about Top Gun 2's production from a guy called Grug on DVXuser.com:

"They've gone with the Venice for a number of reasons. One being the detachable sensor block - which allowed them to squeeze a previously inconceivable amount of image quality into the cockpits of these fighter jets (think of it as the fanciest dash mount you've ever seen). Another being the effective global shutter of the Venice (I'm still confused as to how it's not a "global shutter", but also not a "rolling shutter", but whatever weird techiness lies behind it, it's effectively a global shutter (I tried an insane wobble test on one, and there's zero perceivable skew - so as far as I'm concerned it's a global shutter). And when you're using things called the 'CineJet' to capture air-to-air footage, that's apparently useful!"